NEW YORK INTERNATIONAL ANTIQUARIAN BOOK FAIR 2022 SLAVIC CATALOG - BERN T PENKA
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BERN�T� RARE BOOKS ON THE ARTS
PENKA AND VISUAL CULTURE
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NEW YORK
INTERNATIONAL
ANTIQUARIAN
BOOK FAIR 2022
SLAVIC CATALOG
UKRAINE 4 RUSSIA 18 CZECH 37 POLAND 42 VARIOUS 45 Bernett Penka Rare Books has been serving the needs of librarians, curators, and collectors of rare, unusual and scholarly books on art, architecture, and related fields for more than 75 years. We stock an ever-changing inventory of difficult to source books, serials, print portfolios, photographic albums, maps, guides, trade catalogs, archi- tectural archives and other materials from antiquity to contemporary art. For an up-to-date selection of new and notable acquisitions, please visit our website at www.bernettpenka.com or contact us to schedule an appointment at your institution. And should you be in Boston, please give us a call or simply drop by the shop. We welcome visitors. Bernett Penka Rare Books LLC 144 Lincoln Street Boston, MA 02111 Tel.: +1 (617) 350-7778 info@bernettpenka.com www.bernettpenka.com
UKRAINE [UKRAINIAN ARCHITECTURE – CONSTRUCTIVISM AND BAUHAUS]
2 Dneprostroi [State Construction Administration of the Dniepr
Hydroelectric Power Station]. Unique album of eights
[UKRAINIAN AVANT-GARDE – BIROBIDZHAN]
photographs of proposed constructivist buildings.
1 Biro-Bidzhan. Podorozhni vrazhinnya. Z peredmovoyu Arkhitekturnaia gruppa “Dneprostroia” [The Architectural group of “Dneprostroi”].
M. Kipera [Birobidzhan. Travel Impressions. Moscow, 1930. Oblong quarto (26.5 × 35 cm). Original string-bound red pebbled
cloth, embossed in silver (“Dneprostroi”); with eight original photographs tipped
With a foreword by M. Kiper]. to grey card stock. With a handwritten label inside front board and hand-written
Al’berton, M[eer Iosifovich], Zinaida Ioffe (translator), and M. Blank, designer. Kharkiv: annotations in ink. Very good. $6,500
Knyhospilka, 1930. Octavo (21.5 × 14.8 cm). Original decorative card
wrappers; 178, [2] pp. Light soil to wrappers; wrapper edges lightly chipped. Unique album showcasing architectural designs of eight constructivist buildings for
About very good. $2,500 the projected “city of the future” or Sotsgorod (Socialist City) at the Dniepr Hydroelec-
tric Power Station, built in 1928–1932. Part of the rapid industrialization of Soviet
The first Ukrainian edition of this eye-witness account of Jewish settlements in Birobid- Ukraine, the building of the Dniepr Hydroelectric had begun in 1927. An architectural
zhan, the Jewish Autonomous District established in the far east of the Soviet Union in group led by the constructivist architect Viktor Vesnin (1882–1950) won the com-
1931. The initial groups of Jewish settlers arrived in the region in 1928, after a Soviet mission for Sotsgorod which would house the workers of the station. With his former
decree of the same year allowed for large scale resettlement of the Jewish population in students Sergei Andreevskii, Georgii Orlov, Olga Yafa, and VKhUTEMAS graduate
the region, allowing also for limited private land ownership. The creation of Biro-Bidzhan Nikolai Kolli, he oversaw the construction starting in 1928. The album contains eight
(later Birobidzhan) enabled the Soviet state to address several issues at once. It offered an photographs of renderings for worker apartment blocks (section VIII, Victor Vesnin,
alternative to the popularity of Zionism and the movement to resettle Jews in Palestine, Sergei Andreevskii), dormitories (section II, Olga Yaffa and Georgii Orlov), a school
protected the far eastern borders of the Soviet Union by building up a settlement buffer, (section IV), a medical complex (section VI), and an impressive administrative building
tackled the issue of mass Jewish unemployment (over 30% as a result of Soviet ban on (Victor Vesnin), all to be located in the Sixth’s District, which would become the core of
private skilled labor), and improved its relations with influential Jewish groups abroad. modern day Zaporizhzhia, Ukraine. By 1932 most of the buildings in the album were
The author of this text, Soviet-Jewish journalist and novelist Meer Al’berton (1900–1947), completed, including the worker family housing, worker dormitories, and the medical
accompanied the first settler group on their four-week train journey, documenting the complex (today 3rd Zaporizhzhia Hospital). The designs captured the contemporary
process of leaving their homes and undertaking the difficult settlement of the Soviet far Soviet debates about social housing and communal living, with some of the apart-
east. The humorous account of the characters Al’berton met on his journey is neverthe- ments built without kitchens, featuring communal dining halls instead. Finished in
less frank about the harsh reality of settling virgin land with little to no infrastructure. Of record time, the Sixth District became the best example of socialist city planning of its
the nearly twenty thousand individuals who traveled to Birobidzhan in the first five years, day, with other contemporaneous socialist building projects in Moscow, Orsk, and
over half returned to European parts of the Soviet Union. Gorki significantly altered during construction due to the move away from constructiv-
ist aesthetics in 1933–1934.
Previous publications on the region, issued by KOMZET/OZET (Society for Settling of
Working Jews on the Land), focused on the ideological questions of Jewish re-settlement, The influence of the Bauhaus school is evident in the designs, with the presentations
later releasing practical guides on the geography, climate and natural resources of the of Bauhaus architects at the First Exhibition of Modern Architecture in Moscow in
region to be used by would-be settlers. This text was the first to humanize the experi- 1927 having left a clear mark on Soviet architecture. While working on Sotsgorod,
ence of the journey, with the author naming dozens of specific individuals, and providing Nikolai Kolli simultaneously assisted Le Corbusier with the Tsentrosoyuz building in
their settlement stories. Originally published in Yiddish in 1929, this Ukrainian trans- Moscow (1928–1932), and Le Corbusier himself apparently visited Sotsgorod several
lation was released in attractive constructivist wrappers by the Soviet-Jewish graphic times during construction. Many of the completed buildings were significantly dam-
artist Moisei Blank (1907–1983). A student at the Kharkiv Art Institute at the time of the aged during WWII and subsequently augmented, erasing some of their original design
book’s publication, Blank created the dynamic design to appeal to a wider audience and elements. The renderings in the album provide a unique record of the original plans.
further promote Jewish relocation to the far east. The translator of the text, Zinaida Ioffe The album comes from the personal collection of the Soviet-Ukrainian architect Ivan
(1901–1974), is best remembered for her translations of Bertolt Brecht into Ukrainian. Ivanovich Malozеmov (1899–1954), who took over the general plan for the construc-
This copy is signed and inscribed by the translator. One of 5000 copies published. As of tion of greater Zaporozhye after 1932 (though there are no provenance markings).
August, 2021 this Kharkiv edition is not in KVK, OCLC (which show only the copies pub-
lished in Moscow at Columbia, NYPL, and at Hebrew Union and Frankfurt). (51446)
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A 2017 exhibition dedicated to the architecture of Sotsgorod, “Zaporizhzhia Modern- [UKRAINIAN ARCHITECTURE – CONSTRUCTIVISM AND BAUHAUS]
ism and the Bauhaus School”, highlights the fact that the modernist architectural heri-
tage of Zaporizhzhia remains vastly understudied, and is in danger of destruction (See 4 Sotsiialistychne misto Velyke Zaporizhzhia [Socialist city of
the open letter to the mayor of Zaporizhzhia in the exhibition catalog “Bauhaus-Zapor- the great Zaporizhzhia].
izhzhia” at http://theconstructivistproject.com/en/blog/6/bauhaus-zaporizhzhia-cata-
log). (51743) Maloz’omov, I[van] I[vanovich]. Kharkiv: “Ukrainskii robitnyk”, 1933. Octavo (22 ×
15 cm). Contemporary cloth embossed in gold “Velike zaporizhzhia” with original
illustrated wrappers preserved; 52, [2] pp. Illustrations. Foldout map. Very good.
[UKRAINIAN VISUAL STATISTICS – CONSTRUCTIVISM] $1,500
3 Sotsiialistychne budivnytstvo na Ukraini do XV-ty richchia An illustrated booklet celebrating the recently completed “city of the future” or
zhovtnia: Socilaistischer Aufbau in der Ukraine zur XV-ten Sotsgorod (Socialist City) at the Dniepr Hydroelectric Power Station, built in 1928–
1932. The booklet includes architectural renderings, photographs of construction sites
Jahresfeier der Oktoberrevolution: Socialistic Construction on the and rare images of finished buildings of Sotsgorod. The section on city planning fea-
Ukraine by to the XV-th anniversary of the October Revolution. tures aerial views and details of neighborhood design down to kindergartens, sporting
facilities, parks, schools and hospitals. In accompanying text, the workers are prom-
[Kharkiv]: Plianovo-ekonomichne v-vo hospodarstvo Ukrainy (Publisher for plan- ised family apartments allowing for 9sq meters per person, a generous allotment for
ning and economy of Ukraine), 1932. Oblong octavo (18.5 × 24 cm). Original string- the time. A foldout map of the greater Zaporizhzhia for 1932 completes the brochure.
bound red cloth portfolio with decorative pastedowns, embossed in grey, housing 79 Part of the project of rapid industrialization of Soviet Ukraine, the building of the
leaves of chromolithograph illustrations printed to rectos. In Ukrainian, German, and Dniepr Hydroelectric had begun in 1927. An architectural group led by the construc-
English. Light soil and fading to cloth; slight warping of the card portfolio; internally tivist architect Viktor Vesnin (1882–1950) won the commission for Sotsgorod which
very good. $8,500 would house the workers of the station. With his former students Sergei Andreevskii,
Georgii Orlov, Olga Yafa, and VKhUTEMAS graduate Nikolai Kolli, he oversaw the
A stunning work of infographics showcasing the rapid industrialization as well as over- construction starting in 1928. Finished in record time, the Sixth District became the
all economic and socio-cultural development of Soviet Ukraine, designed in the spirit best example of socialist city planning of its day, with other contemporaneous socialist
of constructivism and presented on dozens of vibrant cards. Published for the fifteenth building projects in Moscow, Orsk, and Gorki significantly altered during construction
anniversary of the Bolshevik Revolution in 1932, the work was printed by the Ukrainian due to the move away from constructivist aesthetics in 1933–1934.
Academy of Printing which was operating in Kharkiv in 1930–1941. The collection
includes sections on Ukrainian electrification, extraction of natural resources (coal, The influence of the Bauhaus school is evident in the designs, with the presentations
steel), production of machinery (tractors, combines), products of the chemical indus- of Bauhaus architects at the First Exhibition of Modern Architecture in Moscow in
try, production of sugar and cotton. It also includes sections on transport infrastruc- 1927 having left a clear mark on Soviet architecture. While working on Sotsgorod,
ture, farming and collectivization, housing, exports, culture and education, healthcare, Nikolai Kolli simultaneously assisted Le Corbusier with the Tsentrosoyuz building in
employment and compensation statistics, culminating in information on the national Moscow (1928–1932), and Le Corbusier himself apparently visited Sotsgorod several
budget. The album is printed in Ukrainian, German and English, aiming at an interna- times during construction. The author of the brochure, Ivan Ivanovich Malozеmov
tional audience. To communicate the work of rapid industrialization, the infographics in (1899–1954), was a Soviet–Ukrainian architect who took over the general plan for
the album use the “Vienna method” developed by the Marxist economist and sociologist the construction of greater Zaporizhzhia after 1932. Many of the completed buildings
Otto Neurath and the Constructivist designer Gerd Arntz. The “international picture were significantly damaged during WWII and subsequently augmented, erasing some
language” or pictograms (isotypes) developed by Neurath and Arntz democratized the of their original design elements, with this booklet containing rare photos of original
visualization of statistical data by using images, de-emphasizing the use of exact num- designs. After WWII Malozemov oversaw the reconstruction of the city in 1949.
bers, information which they claimed did not stay as easily with the viewer. The result-
ing aesthetics are comparable to those of a board game, with the objective of communi- A 2017 exhibition dedicated to the architecture of Sotsgorod, “Zaporizhzhia Modern-
cating simply to newly literate audiences. As was typical at the time, the colophon gives ism and the Bauhaus School”, highlights the fact that the modernist architectural heri-
the names of all printing and type-setting workers, as well as designers, which included tage of Zaporizhzhia remains vastly understudied, and is in danger of destruction (See
Bernikivs’kii, Orshans’kii, Kniazhyns’kii, and numerous others. Complete sets of such the open letter to the mayor of Zaporizhzhia in the exhibition catalog “Bauhaus-Zapor-
works of infographics are extremely uncommon, as individual cards were meant to be izhzhia” at http://theconstructivistproject.com/en/blog/6/bauhaus-zaporizhzhia-cat-
used in “wall newspapers” and other public forums. As of January 2022, not in KVK, alog). Photomontage wrapper design unattributed. As of January 2022, not in KVK,
OCLC. (51858) OCLC. (51857)
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[AVANT-GARDE] Single issue of one of the rarest journals of the Ukrainian avant-garde, published in
thirty-six issues from 1927 to 1930 by a group of Ukrainian futurists led by Mykhailo
5 Nova generatsiia: zhurnal livoi formatsii mystetstv [New Semenko, a former member of the Association of Panfuturists, a unique Ukrainian
generation: a journal of the left front of the arts], no. 6 (1929). futurist formation. The journal was similar in orientation to the Russian journal LEF
(Left Front of the Arts) and took an internationalist approach to revolutionary art in
Kharkiv: Derzhavne Vydavnytstvo Ukrainy, 1927–1930. Large octavo (24.8 × 17.5 all of its forms: architecture, industrial design, film, photography, graphic arts, poetry,
cm). Original pictorial wrappers; 63, [1] pp. Good or better; block creased; and urban planning. It popularized among local readers such artists as Apollinaire,
small tear to front wrapper; text toned. $3,000 Le Corbusier, W. Baumeister, and Eli Lotar.
Single issue of one of the rarest journals of the Ukrainian avant-garde, published in “This journal, despite its optimistic title, turned out to be something of a swan song for
thirty-six issues from 1927 to 1930 by a group of Ukrainian futurists led by Mykhailo the avant-garde. After a brief existence, in the course of which it welcomed the work
Semenko, a former member of the Association of Panfuturists, a unique Ukrainian of artists and writers, such as Kazimir Malevich and Mikhail Matiushin, who were no
futurist formation. The journal was similar in orientation to the Russian journal LEF longer able to publish in Moscow and Leningrad, it succumbed to the harsh cultural
(Left Front of the Arts) and took an internationalist approach to revolutionary art in all policies of the Stalin era” (Janet Kennedy, Slavic Review, vol. 46, no. 2).
of its forms: architecture, industrial design, film, photography, graphic arts, poetry, and
urban planning. It popularized among local readers such artists as Apollinaire, Among the leading contributors were Amvrosii Buchma, Oleksa Vlyzko, Hryhorii
Le Corbusier, W. Baumeister, and Eli Lotar. (Heo) Koliada, Favst Lopatynsky, Semen Skliarenko, E. Strikha (Kost Burevii), Leonid
Skrypnyk, and Leonid Chernov. The present issue contains futurist poetry by Heo
“This journal, despite its optimistic title, turned out to be something of a swan song for Shkurupii, K. Zaizhdzhyi, Andrii Mykhailiuk, prose by Dmytro Buz’ko and O. Perehu-
the avant-garde. After a brief existence, in the course of which it welcomed the work da, an article on book design by I. Rodnykh and an article on photo reportages by Dan
of artists and writers, such as Kazimir Malevich and Mikhail Matiushin, who were no Sotnyk, as well as a lengthy essay on the work of Oleksandr Arkhipenko, and more.
longer able to publish in Moscow and Leningrad, it succumbed to the harsh cultural Wrapper design and typographic design throughout not attributed.
policies of the Stalin era” (Janet Kennedy, Slavic Review, Vol. 46, no. 2).
One of 1600 copies printed. Getty 590. See also: Myroslava Mudrak, The New Genera-
Among the leading contributors were Amvrosii Buchma, Oleksa Vlyzko, Hryhorii tion and Artistic Modernism in the Ukraine (1986). (51772)
(Heo) Koliada, Favst Lopatynsky, Semen Skliarenko, E. Strikha (Kost Burevii), Leonid
Skrypnyk, and Leonid Chernov. The present issue contains futurist poetry by Hro [SOVIET UKRAINE – HIGHER EDUCATION REFORM]
Vakar, contributions on the Donbas by I. Malovichko, Ol. Poltorats’kyi, and Dan Sotnyk,
including a combined literary and photo-reportage, texts by Viktor Ver, M. Skuba, 7 Student revoliutsii: shchodekadnyi zhurnal vseukrains’koi rady
O. Blyz’ko, V. Biliaiv, a review of theater by V. Snihovyi (“Teafront livoruch”), reproduc- profesiinykh spilok [Student of the revolution. A daily journal of
tions of architectural designs for universities in Kharkiv, an article about an exhibition
of graphic arts in Kharkiv by V. Borodkin, and more. Wrapper design by Pavlo Kovzhun.
the all-Ukrainian council of trade unions], nos. 10, 13, 19–21,
27–28 (1931); nos. 16, 36 (1932).
One of 1100 copies printed. Getty 590. This issue pictured in Ol’ha Lahutenko,
Ukrains’ka hrafika XX stolittia, p. 97. See also: Myroslava Mudrak, The New Generation Kharkiv: Vydavnytstvo DVOU “Ukrains’kyi Robitnyk”, 1931–1932. Octavos (25.5 × 18.5
and Artistic Modernism in the Ukraine (1986). As of March 2022, KVK, OCLC show four cm). Original pictorial wrappers; ca. 32 pp. per issue. Illustrations. Some issues uncut
paper holdings in North America, ranging between one and four issues each. (51770) and unopened; no. 10 missing a large section of page 29; worn spine of no. 19/20 and
no. 28; Georgian library stamp to no. 36; still about very good. $1.500
[AVANT-GARDE] Nine issues (in eight fascicles) of “the only Ukrainian journal for students of vocational
schools and universities,” published bi-weekly in 1922–1933. The journal covered student
6 Nova generatsiia: zhurnal revoliutsiinoi formatsii mystetstv life and captured the enormous transformation of higher education in the first ten years of
[New generation: a journal of the left front of the arts], no. 3 Soviet Ukraine, focusing especially on agricultural and vocational schools. Issues contain
articles about student participation in political education of peasants, operating village
(1930). libraries and running factory newspapers, as well as student internships at construction
Kharkiv: Derzhavne Vydavnytstvo Ukrainy, 1927–1930. Octavo (20 × 14.2 cm). sites and collective farms. Each issue also includes articles about students in other coun-
Large octavo (25.1 × 17.8 cm). Original pictorial wrappers; 63, [1] pp. Good or tries, such as Germany and the US. Photographs show Soviet student dormitory life and
better; wear to spine extremities; light soil to wrappers. $3,000
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the work of laboratories and factories, with a focus on the active participation of wom- later stamps following the renaming and restructuring in the early 1930s, the journal
en in higher education. Initially published in Russian, the journal came out in Russian was evidently deaccessioned or moved to the exchange fund at this time. As of January
and Ukrainian starting in 1924, switching to Ukrainian entirely in the last years. In 2022, KVK, OCLC show only one paper issue (no. 8, 1929) at Harvard. (51855)
1932–33 the Kharkiv region suffered especially heavy losses during Holodomor, the
man-made famine caused by forced Soviet collectivization, which took millions of [UKRAINIAN BOLSHEVIK NATIONALISM]
lives. This journal, along with many other Ukrainian language periodicals charged
with propagating nationalist sympathies over Soviet goals, ceased publication in this 9 Statti po natsional’nomu pytanni [Articles on the national
period. Striking unattributed wrapper designs in the spirit of the Ukrainian avant-gar- question].
de. As of January 2022, KVK, OCLC show individual issues at NYPL and Stanford.
(51853) Lenin, N. and V. Ilyn, Vasil’ Shakh-Rai translator and introduction. Saratov: Sovits’ka
tipografiia, 1919. Octavo (22 × 17 cm). Original printed wrappers; XXVI, 127 pp.
[WOMEN’S MOVEMENT – SOVIET UKRAINE] Partially unopened and uncut; light soil and markings in pencil to rear wrapper;
pre-war stamp to title; light fraying to spine extremities, else very good. $1,250
8 Komunarka Ukrainy: shchotyzhnevyi zhurnal robitnyts ta dru-
zhyn robitnykiv, organ viddily agitatsii ta masovykh kampanii First Ukrainian translation of Lenin’s 1913–1914 essays on the national question includ-
ing “The Right of Nations to Self-determination”, with a significant introduction by Vasil’
TsK KP(b)U [The communist woman of Ukraine: a weekly jour- Shakh-Rai (born Shakhrai; 1888–1920) “one of the most prominent Ukrainian socialist
nal of women workers and workers brigades, organ of the de- writers and the ideological founder of Ukrainian Communist Party.” A Bolshevik who
partment of agitation and mass campaigning of the Central had taken an “extremely nationalist position” Shakh-Rai provided an extensive intro-
duction to the essays, pointing out the discrepancy between Lenin’s earlier writing on
Committee of the Communist Party of Ukraine], nos. 27–31, 34, the question of nationality and the Russian hegemonic and imperialist tendencies of the
38, 41–48 (1931); nos. 1–33 (1932). Bolsheviks after the Revolution. His two other pamphlets “Revoliutsiia na Vkraini”
(Revolution in Ukraine; published under the pseudonym V. Skorovstansky), and “Do
Kharkiv: Vydavnytstvo “Komunist”, 1931–1932. Octavos (30 × 21 cm). Original picto- khvyli” (Before the Wave. What is happening with Ukraine and in Ukraine) elaborated
rial wrappers; ca. 32 pp. Some issues with small Soviet-era library stamps “P.B-ka Sr. this argument further. Shakh-Rai’s publication and dissemination of these pamphlets
Az.” to title; no. 29 (1931) wrapper detached; small losses to front wrapper of nos. 1 led to his expulsion from the Bolshevik party in 1919. The remainders of the pamphlets
and 7 (1932). Most issues very good. $7,500 were confiscated and destroyed by the Bolsheviks, making copies especially scarce.
Shakh-Rai died shortly thereafter, supposedly killed during the civil war by the followers
Forty-four volumes of a weekly magazine for women workers published by the women’s of the White general Denikin in Kuban. It was subsequently rumored that he was in fact
department of the Ukrainian communist party (Zhenotdel) in 1920–1932. Presented in killed by the Bolsheviks for his dissent. As of January 2022, not in KVK, OCLC. (51767)
colorful Constructivist-inspired wrappers (unattributed), the issues focus on celebrat-
ing women’s achievements in industrial and farm labor. Issues also include articles on [UKRAINIAN DISPLACED PERSONS – WWII]
public health, operation of nurseries, education of girls, and women’s self-education.
Numerous illustrations and photomontages show women operating heavy machinery, 10 MUR. Mystets‘kyi Ukrainskyi Rukh. Zbirnyki literaturno-mys-
working in military units, on construction sites, in laboratories and driving indus- tets’koi problematyki [Ukrainian Art Movement. Compilations
trial vehicles. Most women are in uniform or protective gear and images of women
as home-makers are conspicuously absent. Major Soviet literary figures, such as the
of literary and artistic issues], vols. 1–3 (all published).
writer, journalist and educator Lidiya Seifullina oversaw the publication. Many of the Domontovych, V. [pseudonym of Victor Petrov] and M. Ivaneiko [pseudonym of
articles were also written by women, and later editors included M. Sharkivna, I. Ar- Mykola Shlemkevych], Borys Podoliak, Iurii Sherekh, editors. Munich–Karlsfeld:
guf, M. Chizhova. The journal was published in Russian starting 1920, Russian and self-published, 1946–1947. Octavos (30 × 21.5 cm). Original decorative side-sta-
Ukrainian in 1928, and in Ukrainian only 1929–1934. In 1932–33, the Kharkiv region pled wrappers; 60–110 pp per issue. The first two volumes mimeographed type-
suffered especially heavy losses during Holodomor, the man-made famine caused by script to rectos and versos. About very good; light wear to wrappers; two volumes
forced Soviet collectivization, which took millions of lives. This journal, along with many with owner inscription to title; spine extremities chipped. $1,250
other Ukrainian language periodicals charged with propagating nationalist sympathies
over Soviet goals, ceased publication in this period. Provenance: 1920s rubber stamps Complete run of the journal of the Association of Ukrainian writers in exile, created by
of the State Public Library of Central Asia (“G.P.B-ka Sr. Az.” and “GPB Sr.Az.”), subse- writers living in Displaced Persons (DP) camps immediately after WWII. Active in 1945–
quently renamed the State Public Library of Uzbekistan. As none of the issues feature 1948, MUR was headed by the writer, journalist, and member of UPR (the Ukrainian
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government in exile) Ulas Samchuk (1905–1987). Other notable members of MUR were In spite of a significant print run of 10000 copies, the book is rare: as of March 2022,
Viktor Petrov, Igor’ Kostets’kyi, Iurii Shevel’ov, Orest Mykhailo, Ivan Bagrianyi, Iurii KVK and OCLC show four copies, all in North America. We also cannot trace the book at
Kosach, Vasyl’ Barka. Made up of over sixty members at its height, MUR united the the Russian State Library, possibly due to the reference to writers whose works fell out
main artistic forces of the Ukrainian diaspora, despite their great heterogeneity, with of favor in the 1930s, resulting in confiscations and removal of the book from public
authors coming from Soviet Ukraine, Western Ukraine, as well as interwar émigrés. holdings. (51830)
The first issue of the journal included programmatic articles such as “Great literature”
by Ulas Samchuk in which he argues for the importance of literature for the spiritual [PHOTOMONTAGE – FORDISM IN SOVIET FOOD PRODUCTION]
unity of a people who have lost their country. MUR also held congresses in 1945, 1947,
and 1948, with the journal issues containing reports on the congresses, theoretical and 12 Gigant miasnoi industrii 1932–1935: stroitel’stvo i eksploatatsiia
historical debates, as well as contemporary fiction. The issues also include original po- leningradskogo miasokombinata im. S. M. Kirova 1932–1935
etry by Oleksa Veretenchenko, Oksana Liaturynska, Iurii Kosach, Mykhailo Orest. The
journal design was by the Ukrainian artists Halyna Mazepa (1910—1995) and Edward
[A giant of the meat industry 1932–1935: the construction and
Kozak (1902–1992). Scarce in the trade. (51591) operations of the S. M. Kirov meat packing factory].
Alekseev, G.M. et. al. (eds). Leningrad: Izdanie leningradskogo miasokombinata
RUSSIA im. S. M. Kirova, 1936. Oblong quarto (26 × 37 cm). Blue cloth over boards, embossed
title in gold to front board; 66, [1] pp. Photo-illustrations throughout. Small nicks and
wear to cloth; stain to rear board; internally very good. $2,750
[PHOTOMONTAGE — BOOK CATALOG ON AMERICA]
Illustrated with constructivist-inspired photomontages (unattributed), this album celebrates
11 Amerika: politika, ekonomika, byt, khudozhestvennaia litera- the adoption of Fordist methods in the Soviet meat-packing industry at the Kirov meat-pack-
tura: katalog knig [America: politics, economics, everyday life, ing plant in Leningrad (the modern day “Samson” plant in St. Petersburg). Second in size only
to the Mikoyan meat-packing plant in Moscow, the Leningrad factory was built during the
literature: a catalog of books]. second Five-Year Plan in 1932–1935 to supply the Leningrad region and beyond. This album
Lavinskaia, Elizaveta, illustrator. Moscow–Leningrad: Gosudarstvennoe izdatel’stvo, documents the 23-month construction process with photographs of the construction, maps
1927. Octavo (21 × 14.5 cm). Original pictorial wrappers; 87, [1] pp. With eight of supply and distribution chains, detailed flow charts of beef and pork processing, as well as
full-page photomontages and twelve smaller photo-montage vignettes, in addition lists of the variety of meat products made at the factory. One of the photomontages features
to the wrapper, printed in black and blue. About very good; light wear to spine and the factory complex, a celebrated example of constructivist architecture which received a gold
front wrapper splitting at spine extremities. $2,000 medal at the Paris World Fair in 1937 (designed by N. Trotskii, P. Zelikman, and B. Svetlitskii).
A striking catalog of books, posters, and other artifacts produced by the State Publish- The album opens with a full-page portrait of Anastas Mikoyan, at the time People’s Commissar
ing House about all aspects of US culture, including, notably, a section entitled “Ne- of Food Industry, who famously traveled to Chicago to observe the advances in food process-
groes in America” (Negry v Amerike), and published on the ten-year anniversary of ing and to import American equipment. “Mikoyan reported to the XVII party congress (1934)
the October Revolution (possibly to complement a similar, but more extensive catalog that the Moscow, Leningrad and Baku combines had recently been completed, with conveyor
issued about the Soviet Union). With eight elaborate full-page photomontages incorpo- belts and transporters, gigantic refrigerators, huge boilers for fat, and special sanitary cloth-
rating typographic lettering, each of which reflects the catalog’s thematic sections, and ing and showers for the workers – “the wonders of American meat technology have been
several smaller vignettes. transferred to our soil…only the last breath of the animal is not utilized” (See R. W. Davies, The
Industrialisation of Soviet Russia, p. 481). The final section of the album refers to the terrible
All illustrations are by the Constructivist artist Elizaveta Lavinskaia (1901–1949). working conditions described by Upton Sinclair in “The Jungle”, his famous critique of the
Lavinskaia studied at VKhUTEMAS and was a member of the LEF group along with turn of the century meat-packing industry in Chicago. By contrast, the album showcases ex-
her husband Anton Lavinskii (1893–1968). Working primarily in agitational art, emplary sanitary conditions with free medical services, showers and hair dressers, manicure,
Lavinskaia designed public holiday displays, store windows, political posters, col- worker housing, a school for the children of the workers and greening projects surrounding
laborating with avant-garde artists such as Varvara Stepanova, Elena Semenova, and the premises of the factory to highlight the differences between the life of Soviet and Ameri-
Vladimir Mayakovsky. She also collaborated with her husband, most notably on the can workers.
film poster “Dom na Trubnoi”(1928). Another notable poster work, “Budem okhraniat’
elektroprovoda” (1928), is held by MoMA. Overshadowed by her more famous collabo- Karasik, The Soviet Photobook 1920–1941, p. 408. One of 650 copies. As of December 2021,
rators, Lavinskaia’s work remains understudied. not in KVK, OCLC. (51745)
18 BERN�T� PENKA UKRAINE 19 BERN�T� PENKA RUSSIA12 13 20 BERN�T� PENKA RUSSIA 21 BERN�T� PENKA RUSSIA
[SOVIET POSTER DESIGN – ALCOHOLISM AND PUBLIC HEALTH] cation Department, with this work seemingly his only radio themed text for children.
The constructivist-inspired illustrations are by Semen Mal’t (1900–1968), a graphic
13 Alkogolizm i bor’ba s nim. Posobie dlia politprosvet-uchrezh- artist best remembered today for his political posters. Mal’t designed this book while
denii [The fight against alcoholism. A manual for institutions of a student at the famous VKhUTEMAS under the direction of the master graphic artist
Vladimir Favorskii. Mal’t’s other children’s publications include “Voina igrushek” (The
political education]. war of toys), published in the same year.
Berliand, A. S., with N. A. Semashko and A. A. Shiriamov (eds.). Leningrad: Glavpolit-
prosvet, 1928. Oblong quarto (26 × 35 cm). Original string-bound card wrappers, with Not in the Lur’e collection (Kniga dlia detei 1881–1939).
printed title label to front wrapper; title followed by 20 leaves of color illustrations,
with explanatory text to versos. Moisture damage to wrapper and title and a few first As of July 2021, not in KVK, OCLC. (51403)
and last leaves; small tears to final blank leaf; internally about very good. $2,950
Intended for factory wall newspapers (Stengazety), as well as a variety of medical and po- [SOVIET AVANT-GARDE – CINEMA]
litical-educational institutions, this collection of public health posters and infographics
aims to educate the general population about the dangers of alcohol. Colorful and easy to 15 Filosofiia fil’ma [The philosophy of film].
read, the posters provide information on topics such as alcohol and work accidents, alco-
hol and tuberculosis, alcohol and mental illness, alcohol and child development, alcohol Garms (Harms), Rudolf with S. S. Mokul’skii, translator. Leningrad: “Academia”, 1927.
and monthly salary. An especially charismatic poster demonstrates all the groceries one Octavo (18 × 14 cm). Original pictorial wrappers; 187, [5] pp. Partially uncut. Book
can buy in place of one bottle of vodka, while another diagrams the “fight against alcohol store stamp to inside of rear wrapper. Very good. $750
in the United States,” showing the progress of prohibition laws from 1906–1919.
First Russian translation of one of the earliest works on the philosophy of cinema by the
Produced by the publishing house “Doloi negramotnost’” (Down with illiteracy), the writer, journalist, and film critic Rudolf Harms (1901–1984). The introduction to this
present volume was part of a large-scale public health and general education outreach. volume, by the philologist and cinema critic Stepan Mokul’skii, characterizes this work
The author, Dr. Abram Berliand, published over a dozen public health guides in the as one of the first to treat film as an academic topic, bringing this popular medium into
1920s–1950s, focusing on topics such as syphilis, sexually transmitted diseases, first the academic sphere. First published in 1926, the book was one of two titles written by
aid, public health education, as well as this alcoholism poster set. The string binding of Harms on the subject of film. His later works were historical biographies of figures such
the album made it easy to remove individual posters for display, complete sets are rare as Robert Koch, Paracelsus and Robespierre. Wrapper by the graphic artist Veniamin
as a result. P. Belkin (1884–1951). Belkin studied art in turn of the century Moscow and Paris later
taking part in exhibitions of Mir Iskusstva 1912–1916. During this time he also created
As of December 2021, KVK, OCLC show one copy, at the National Library of Medicine illustrations for journals such as Apollon and Satirikon. Later a member of OZh (Ob-
(Maryland). (51742) shchina khudozhnikov), a Leningrad art group which continued the traditions of Mir
Iskusstva into the Soviet period.
[AVANT-GARDE CHILDREN’S BOOK] As of December 2021, KVK, OCLC show one copy in North America. (51819)
14 Radio-skazka [Radio fairytale].
[SOVIET AVANT-GARDE – CINEMA]
Nikulin, L[ev] and S[emen] Mal’t (illustration). [Riazan’]: Izd-vo. Druz’ia detei, [1925].
Octavo (29.5 × 22.3 cm). Original pictorial wrappers; 16 pp. Illustrations throughout. 16 Rozhdenie Kino [The Birth of Cinema].
One page with small tear; light overall wear; still about very good. $3,750
Mussinak (Moussinac), Léon with S[tepan] S. Mokul’skii and T. I. Sorokin, translators.
This richly-illustrated popular science book for children presents the wonders and Leningrad: “Academia”, 1926. Octavo (18 × 13.5 cm). Original pictorial wrappers;
possibilities of radio engineering in poetic form. A radio tower dominates the wrap- 195, [5] pp. Illustrations. Partially uncut. Small chip to lower spine extremity. Still
per illustration as the child protagonist of the story learns about the advances in radio about very good. $950
navigation in the navy, a developing technology in the 1920s. The author of the text, Lev
Nikulin (1891–1967), was a prolific Soviet writer, poet and journalist. During the Russian First Russian translation of Moussinac’s classic text on the history and theory of Amer-
Civil War (1918–1922), Nikulin worked for the Baltic Fleet as head of the Political Edu- ican, French, German, and Swedish cinema, originally published as “Naissance du
22 BERN�T� PENKA RUSSIA 23 BERN�T� PENKA RUSSIA14 17
15
16
24 BERN�T� PENKA RUSSIA 25 BERN�T� PENKA RUSSIAcinema” in 1925. A member of the French communist party starting in 1923, Moussi- [RUSSIAN SYMBOLIST JOURNAL]
nac was especially active in promoting Soviet cinema in France, highlighting the work
of directors such as Dziga Vertov and Sergei Eisenstein. In 1927 Moussinac visited the 18 Zapiski mechtatelei [Notes of dreamers], nos. 1, 2–3, 4, 5, 6
Soviet Union and in 1928 he published a book dedicated exclusively to Soviet cinema. (all published).
The introduction to this volume, by the philologist and cinema critic Stepan Mokul’skii,
compares this theoretical work to that of Béla Balász, another European Communist Bely, Andrei and Aleksandr Blok, editors, and Aleksandr Golovin, designer. [Petro-
film critic, for approaching film from an aesthetic and a sociological perspective. grad]: Alkonost, 1919–1921. Octavos (27 × 19 cm). Original decorative wrappers
Constructivist-inspired wrapper design by the artist, set designer and theater director designed by Aleksandr Golovin; 144, 178, 163, 139, and 183 pp. per issue. Light
Nikolai Akimov (1901–1968). Akimov studied at VKhUTEMAS 1922–1926, then a cen- soil to wrappers; small chips along wrapper extremities not affecting text; one vol-
ter of artistic experimentation. At VKhUTEMAS he became close with the avant-garde ume with paper restoration (rebacking) to spine; overall a very good set. $2,500
theater director Nikolai Evreinov, who introduced Akimov to the literary and theater
world of Leningrad, including the editor of “Academia”, a top publisher for whom he A complete run of this Russian symbolist journal edited by Andrei Bely (1880–1934)
designed numerous book covers and illustrations. A volume dedicated to Akimov’s the- and Aleksandr Blok (1980–1921), featuring original wrappers by the “Mir iskusstva”
ater design was published by “Academia” in 1927. In the 1930s he worked primarily as (World of Art) artist and set designer Aleksandr Golovin (1863–1930). Generally con-
a theater director at the St. Petersburg Comedy Theater. This text was part of a theory sidered the last symbolist periodical, issues of Zapiski contain works by Anna Akhma-
and history of cinema series (Teoria i istoria kino). With 27 illustrations in the text. tova, Andrei Bely, Aleksandr Blok, Viacheslav Ivanov, Vladislav Khodasevich, Aleksey
Publisher catalog to last pages. Remizov, Marietta Shaginyan, Fyodor Sologub, and Yevgeny Zamiatin. The publication
was made possible due to close ties between the editors and Anatoly Lunacharsky, the
As of December 2021, KVK, OCLC show two copies in North America. (51818) People’s Commissar of Education. While editing the journal Bely also taught writing
to young proletarian writers at Proletkult. The introductory essay by Bely refers to
the group of symbolist writers as a “commune of dreamers” only to dispense with the
[SOVIET CULTURE IN JAPAN] notion of “commune” and “equality” in the name of art and creativity, an approach
typical of the symbolists that would soon lose its viability in Soviet arts. The opening
17 Sobiēto no tomo [Friends of the Soviet Union], seven issues. issue also includes the first publication of Bely’s “Notes of an eccentric.” The fourth
volume was published with an obituary announcing the death of Aleksandr Blok. The
Tomoyoshi Murayama, artist. Tokyo: Sobiēto no Tomo no Kai, 1931–1932. Quartos final sixth volume is dedicated to Blok in its entirety, with essays by Anna Akhmatova,
(ca. 31 × 25 cm). Original staple-stitched photographically illustrated wrappers, Konstantin Stanislavsky and Viktor Shklovsky among many others. The publication
mostly signed by Murayama; ca. 24 pp. per issue. Rust to staples; light overall wear ended with Bely’s departure for Berlin in fall of 1921. Scarce in the trade. (51911)
and occasional foxing; overall about very good. $2,250
Rare group of issues of this strikingly designed Japanese pro-Soviet journal, published [PREFIGURING THE RUSSIAN REVOLUTION]
by Sobiēto no Tomo no Kai, the Association of Friends of the Soviet Union, which was
established in 1931. Six of the covers are signed by Tomoyoshi Murayama, a central 19 Chto delat’ [What is to be done]. In: Sovremennik [The Con-
figure of the Japanese Mavo group, who was at the time a member of the Japanese temporary], nos. 3–5 (1863).
Communist Party. Another contributor was Sozo Okada (1903–1983), a Japanese
actor and film producer who had studied in Germany and traveled to Moscow in 1929 Chernyshevskii, N[ikolai]. [St. Petersburg, 1863]. Octavos (22.5 × 14.7 cm). Con-
to study avant-garde cinema, meeting Sergei Eisenstein. Okada brought back home temporary quarter calf with gilt title to spine; [2], 5–142, 373–526, 55–197 pp.
numerous photographs and print publications documenting Russian Constructivism, Boards and corners rubbed; front hinge starting; former owner’s initials at base of
then at its peak. Curiously, a recent scholar has suggested that the organization may spine: A. N. A.; private owner stamps of a contemporary lending library and later
have been a front of the Russian Comintern (Mary Hanneman, Hasegawa Nyozekan private collector; occasional staining and foxing; still good or better. $6,000
and Liberalism in Modern Japan, p. 94).
Rare first printing in all three parts of Chernyshevsky’s hugely influential novel, which
See also: Andrea Germer, “Adapting Russian Constructivism and Socialist Realism: appeared in issues no. 3, 4, and 5 of the journal Sovremennik, bound together in a con-
The Japanese Overseas Photo Magazine FRONT (1942–1945)” (2015). temporary half leather binding. The novel is Chernyshevsky’s most important work
and is commonly thought to foreshadow if not hasten the revolutions of 1905 and 1917
As of March 2022, not in KVK, OCLC. (51868) by expressing the social tensions and fissures of Russian society. Born in a family of
a priest, Chernyshevsky (1828–1889) went on to study philosophy at St. Petersburg
26 BERN�T� PENKA RUSSIA 27 BERN�T� PENKA RUSSIA18 19 21
22 23
20
28 BERN�T� PENKA RUSSIA 29 BERN�T� PENKA RUSSIAUniversity. Influenced by Hegel, Feuerbach, and Alexander Herzen, Chernyshevsky many foreign contributions by George Grosz, Käthe Kollwitz, Steinlen, Brangwyn, and
would eventually formulate materialist and utopian-socialist views in his articles for others. According to the preface, many of the illustrations are published here for the
Sovremennik, which he edited starting in 1853 (along with Nikolai Nekrasov). In 1962 first time. The overall design, including title page and numerous decorative initials, is
Chernyshevsky was arrested and accused of writing a populist tract addressing the by Sergei Chekhonin.
newly liberated Russian serf population, inciting the peasants to rebellion and revolu-
tion (the authorship of the tract is contested to this day). A likely reason for the album’s scarcity is the authorship of numerous Soviet revolu-
tionaries who were arrested during Stalin’s Purges in the 1930s and executed, includ-
This novel was written while the author was in solitary confinement in the Peter and ing Zinov’ev, Dabal, Unschlicht. This would have led to the voluntary removal of the
Paul Fortress, awaiting trial. The manuscript was submitted to the investigative com- book from personal libraries and bookstores, as well as confiscations of the title in
mittee and miraculously approved for publication, with the novel causing immediate public libraries.
scandal. The censor responsible for the release of the novel was fired. The issues of the
journal in which the novel appeared were taken out of circulation, making them espe- 4000 copies were published, of which 1000 were numbered and bound in cloth; the
cially scarce, with the novel distributed and read in Russia largely in manuscript. First present copy is no.
published as a book in Geneva in 1867, the novel went through five Russian language
editions abroad and was immediately translated into many European languages. It was Rare. As of March 2022, KVK, OCLC show one copy, at Yale. (51894)
first published in Russia only in 1906 after the 1905 Revolution removed censorship
restrictions for such works. Karl Marx referred to Chernyshevsky’s ideas with admi-
ration. Dostoevsky thought the novel was dangerous and engaged in polemics with its [WORLD WAR I]
main ideas in his Notes from Underground (1864) and Demons (1871). Lenin famously
wrote that the novel “reworked” him. In his essay, also titled “What is to be done?” 21 Tipy voenno-plennykh. 1915 g. Nabroski na kamne Iu.
(written in 1901–1902), Lenin would formulate his key ideas on class and revolution. Artsybusheva [Portraits of prisoners of war. 1915.
Provenance: Lending library of A. Nambrin, St. Petersburg, 1869; Kaiser-Alexan-
Lithographic sketches by Iu. Artsybushev].
der-Heim, Berlin-Tegel; private collection of Dr. Jürgen Plähn, Berlin. (51950) Artsybushev, Iu[rii], artist. Moscow: Izdatel’stvo “Leto-pechat’”, [1915]. Folio (36 ×
27 cm). Original printed card folder with three flaps, housing eight leaves of color
lithographs to rectos, with simpler sketches lithographed to rectos. Signed and
[WAR IN ART AND LITERATURE — CONFISCATED PUBLICATION] inscribed by the artist to flap (addressee’s name illegible). With a small note in ink
noting that the album was purchased in 1947 for 50 rubles. Portfolio worn, with
20 Voina voine [War against war]. restoration to folds and edges; contents very good. $3,500
Sosnovskii, L. S., S. A. Abramov, and S. Rodov, editors. Moscow: Izdatel’stvo Scarce portfolio of lithographs, containing portraits of WWI war prisoners, by the artist
Assotsiatsii Khudozhnikov Revoliutsionnoi Rossii (AKhRR), [1925]. Oblong quarto and journalist Iurii Artsybushev (1877–1952). An architect by training, Artsybushev is
(26 × 35 cm). Original decorative beige cloth by Sergei Chekhonin; [2], 133, [2] pp. best remembered for his political caricatures and portraits. Starting in 1905 he edit-
Illustrations and plates, including sixteen tipped-in sepia and color plates. Very ed Zritel’ (The observer), a journal of political caricature, which was shut down by the
good. $2,500 censor only five months after opening. Artsybushev was arrested and sentenced to two
years in prison, a sentence he successfully appealed. He subsequently collaborated
This richly illustrated album explores the topic of war throughout world history, the with other oppositional publications such as Ogonek (The flame) and Krivoe Zerkalo
visual arts, as well as literature, while treating the capitalist system as the origin of all (The crooked mirror) and worked in theater and stage design. He also created court
wars and embracing the slogan “destroying all wars through class war.” The editors room drawings of a number of famous political cases during the 1910s. The exact
were also careful to distinguish between war and revolution (and revolutionary war), circumstances of his creation of the portraits in this album are not known. After the
and saw their goal as making the masses aware of the threat and dangers of another Revolution, he created series of portraits of the leaders of the Bolsheviks as well as of
world war. The contributions include essays by Grigorii Zinov’ev (“Voina i Leninizm”), leaders of the White movement, attending meetings of the Petrograd Soviet, the State
M. Pavlovich (“Voina voine”), A. Lozovskii, Josef Unschlicht, V. Kolarov, Iakov Tugendk- Conference, and the Constituent Assembly, creating most famously his 1918 “Dictator-
hol’d, Tomasz Dabal, N. Rozhkov, and a section entitled “War in literature.” ship of the proletariat” album, which included numerous portraits of Lenin, Trotsky,
and Kamenev, among others. This and his other albums were censored and withheld
Among the works of art are Vasilii Vereshchagin’s famous “Apotheosis of War” and from circulation through most of the Soviet period for containing images of repressed
Shestopalov’s drawing showing the Bolsheviks voting against war credits, as well as political figures. Artsybushev emigrated with his family in 1919. His return to the Sovi-
30 BERN�T� PENKA RUSSIA 31 BERN�T� PENKA RUSSIAet Union after WWII led to arrest and exile. A 2017 Moscow exhibition “Portraits of the Bachelis, I. and R. Katsman. Moscow: Goskinoizdat, 1942. Octavo (14.5 × 11 cm).
Revolutionary Period” was based largely on Artsybushev‘s work. (51845) Original pictorial wrappers; 51, [1] pp. Illustrated with fourteen film stills. About
very good; light overall wear to wrappers. $950
[OFFICIAL DESIGNS FOR THE RED ARMY UNIFORM – NOT IN KVK, OCLC]
The first German defeat in WWII, stopping the Nazi armies just short of Moscow, was
22 Novaia forma Krasnoi Armii: Prikaz R.V.S.R. No. 322 [The new captured on film by dozens of frontline cinematographers on Stalin’s orders. This item
uniform of the Red Army: Order of the Revolutionary Military is a print companion to the resulting feature-length documentary, which shows the
defense of Moscow in September 1941–January 1942. The film shows Moscow civilians
Council of the Republic No. 322]. building barricades, working in factories, as well as frontline action, besieged villages
and graphic images of wartime violence. Directed by documentary film makers Ilya
Moscow: Upravlenie glavnogo nachal’nika snabzheniia R.K.K.A., 1922. Octavo (22 Kopalin (1900–1976) and Leonid Varlamov (1907–1962), and closely monitored by Sta-
× 18 cm). Contemporary brown cloth, with original decorative wrappers preserved; lin himself, the film aimed to raise morale by showing the possibility of a Nazi defeat. It
147 pp. with 13 leaves of illustrations to rectos and 5 fold-out patterns, some in premiered across the Soviet Union in February of 1942, eventually re-edited for Euro-
color. Catalog to inside rear wrapper. Pre-war stamp of a military book store (or pean and American audiences. A testament to Allied unity, the documentary received
reading room) to front wrapper, title and first page. Light soil to wrapper, small both an Oscar (the first for USSR) and a Stalin prize. This illustrated companion seems
closed tears to appended patterns. Still about very good. $1,500 to have been printed on the occasion of the award of the Stalin prize and includes an
announcement of the award in the preface, followed by selected film stills from the
First and only edition of the illustrated manual detailing the design and construction film and narrative commentary by the Soviet author and screenwriter Pyotr Pavlenko
specifications for the new uniform of the Red Army as prescribed by the order no. 322 (1899–1951). A similar spread of images from the film was published in the September
in 1922. The publication provides sewing instructions for individual items of cloth- 1942 issue of Life magazine prior to the awarding of the 1943 Oscar. Both directors
ing, fabric type and color, size tables, images for various marks of rank and military of the feature went on to film other high-profile events, with Ilya Kopalin eventually
distinction as well as the typescript to be used on uniforms. Established shortly af- directing the film on the Yalta Conference which captured all the Allied leaders and
ter the 1917 Revolution, The Red Army of Workers and Peasants (RKKA: Raboche Yuri Gagarin’s space flight. Leonid Varlamov went on to direct a similar documentary
Krest’ianskaia Krasnaia Armiia) did not have a common uniform, with members of the feature about Stalingrad.
army able to identify one another only by the red armband with the inscription “Red
Army”, a red ribbon on their head dress, and in some units a red breastplate sewn or The present booklet contains the text of the official decision to award the film team the
pinned to heir shirt. The fighters typically wore either civilian clothing or the uniform Stalin Prize for their work on the film, followed by I. Bachelis, “Bitva za Moskvu” (The
issued by the Russian Imperial Army with the distinction markers removed. In 1918, fight for Moscow) and R. Katsman, “Kinokhronika na linii ognia” (A cinema chronicle
a competition for the design of new Red Army uniforms was announced by order no. on the firing line).
326, with prominent artists such as the painter Vasilii Vasnetsov and stage designer
and painter Boris Kustodiev taking part in the insignia and uniform design. Issued in As of February 2022, not in KVK, OCLC. (51211)
January 1922, order no. 322 strictly defined and regulated the uniform. After the pub-
lication of this manual and implementation of the uniform code, members of the Red
Army were strictly forbidden to wear non-identified clothing. Provenance: from the [BELORUSSIAN PARTISANS – WWII SATIRE]
inventory of a Lithuanian military bookstore (pre-war stamp: Karo Mokslo Skyriaus
Knygynas); later in the collection of David R. Jones of Halifax, Nova Scotia. 24 Razdavim fashystskuiu hadzinu [Lets crush the fascist snake],
nos. 6, 15 (1941, in Russian); 46, 50 (1942, in Belorussian).
As of March 20220, no copies recorded in KVK, OCLC. (P4650)
[Gomel’; Moscow]: Izdanie gazety “Zvezda”, 1941–1942. Single leaves measuring
ca. 28.5 × 43.5 to 36 × 49.5 cm, folded once. Illustrated from photographs and
[“MOSCOW STRIKES BACK” DURING WWII] drawings. Good; light soil and creases; small tears along the extremities, not affect-
ing text; one issue with more significant tears. $1,750
23 Razgrom nemetsikh voisk pod Moskvoi. Kinoletopis’ velikoi
otechestvennoi voiny. Kadry iz fil’ma [The defeat of the German Four issues of the satirical poster-newspaper connected with the activities of Belorus-
sian partisans during WWII. Intended as a morale-raising poster to be hung on walls
troops near Moscow. A cinematic chronicle of the great patriotic and displayed in public spaces, the single-leaf paper contained striking caricatures
war. Scenes from the film]. of the German high command, portraying Goering, Goebbels and Himmler as well as
32 BERN�T� PENKA RUSSIA 33 BERN�T� PENKA RUSSIAYou can also read
